The sacristies and capitular rooms in the Cathedral of Toledo are of more than royal magnificence. Nothing can be more noble and picturesque than these vast halls decorated in that solid and severe style of luxury that the Church alone understands. They present an endless succession of carved walnut-wood or black oak, tapestry, or Indian damask curtains hanging down before the doors, brocade drapery with large massive folds, figured tapestry, Persian carpets, and fresco paintings. We will not attempt to describe all these things in detail, we will merely mention one room ornamented with admirable frescoes representing sacred subjects, in the German style, of which the Spaniards have produced such successful imitations. These frescoes are said to have been painted by Berruguete's nephew, if not by Berruguete himself, for these prodigious geniuses were great in all three branches of art. We will also mention an immense ceiling by Luca Giordana, filled with a countless multitude of angels and allegorical personages in attitudes that offer the most extraordinary instances of foreshortening. It is also remarkable for a singular optical illusion. A ray of light issues from the middle of the roof, and although painted on a simple flat surface, seems to fall perpendicularly on your head, whichever way you turn. Here is kept the treasure, that is to say, the beautiful capes of brocade, cloth of gold, and silver damask; the marvellous guipures, the silver-gilt reliquaries, the diamond monstrances, the gigantic silver candlesticks, the embroidered banners, and, in fact, all the decorations and accessories used in the representation of the drama called the mass. In the cupboards of one of these rooms is kept the wardrobe of the Holy Virgin, for naked statues of marble or alabaster are not sufficient for the passionate piety of these natives of the South. In their devout enthusiasm, they load the object of their veneration with ornaments of the most extraordinary richness; nothing is good, or brilliant, or expensive enough; the form of the figure and the materials of which it is made disappear completely under this mass of valuables; but the Spaniards trouble themselves very little about that. The great thing is that it should be a physical impossibility to hang one pearl more on the ears of the marble idol, to fix a larger diamond in its golden crown, or form another pattern of precious stones on its brocade robe.